Art School Portfolio Critique by a RISD Art Professor
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- Опубліковано 20 вер 2024
- Hear a detailed critique of an art school portfolio, starting with a critique of the overall portfolio, followed by critiques for each individual artwork. Critique by RISD Adjunct Professor Clara Lieu, portfolio by Hannah Schloesser.
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Clara Lieu was an Adjunct Professor at the Rhode Island School of Design from 2007-2020. Her artwork has been exhibited at the International Print Center NY, the Currier Museum, Childs Gallery, the Davis Museum, and more. Lieu received an artist fellowship from the MA Cultural Council, has written for the NY Times, and lectured at Brown University, the NAEA conference, and in Vancouver & China. She has been profiled in Artsy, Hyperallergic, KPCC, & WBUR.
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I had no clue that there’s a visible difference between drawing from life and drawing from a photograph. That really opens my eyes. Your trained eye and criticism is wonderful.
These videos are so insightful!! I love watching them
Thanks! We have tons more on our main site: artprof.org/critiques/
The feedback is so thick and rich in description. Amazing!
Thank you for all this amazing knowledge. I am learning so much.
That's wonderful to hear!!
I don’t do portraits so well. I am loose when I paint. I like color. I have unfinished pieces.
Just a thought but as someone who does a lot of finished work in their sketchbook another way to get around it could be work on a wire bound sketchbook without the line down the middle and then it will be much less obvious or distracting. Technically it's still not sketchbook quality but I really think it wouldn't have been as distracting if they did it In a wire bound sketchbook because there's no crease in the pages.
Yes, good option to have! -Prof Lieu
Wow Miss. Lieu! You are SO impressive in terms of your views on art. I wish to be one of your students and learn from you live ❤
So glad you found us, welcome to the Art Prof family! ❤ -Prof Lieu
Join our Art School Portfolios Group! Ongoing support & critiques, voice sessions with Prof Lieu. Get a chance to connect with other students for $30-$40 monthly. More info: artprof.org/art-school/art-school-portfolios-group/
Finally!!!! I love your critiques.
Awesome, thank you!
So happy that there's another video !!
Much more to come!
I learned so much about painting in this video for just under 30 minutes compared to spending $$$$ attending art class. Thank you so much for a very clear and direct explanation 👍😍
You are so welcome! - Mia Rozear, Art Prof Staff
this was a really good critique! I learned so much, even as an artist been through art school, quite a few years back.
Maybe I'm remembering incorrectly, but didn't you mention, in a different critique, an artist who put a lot of details in one part of a painting like the face, and left the rest less detailed? So what makes that artist's use of varying levels of detail successful, while this person's lack of detail in some places unsuccessful?
If I remember correctly, I was probably talking about John Singer Sargent. Every artwork is unique, and in general what works in one piece won't work in another. Details are all about context; so there's no way to say for example that lots of detail is inherently good or inherently bad. In this case, this artist's lack of detail is comprehensive, it's everywhere, and distributed evenly making for a piece to look unfinished.
so many Incredible paintings drawings and talent. I'm definitely liking this.
We're glad to hear it! - Mia, Art Prof Staff
When it comes to drawing from life vs drawing from a photograph, it seems like it can become obvious for someone with a trained eye. Is it always a negative thing to draw from photographs? Which of the two would you say is preferable for a portfolio? Or is it how you’re able pull off both that’s important? Thanks!
I think that if you take planned reference photos, you can totally draw from pictures! I think the danger lies in the "google search results" photos, where references can be super obvious & generic. - Mia, Art Prof Staff
I love this video, it’s so interesting! I just don’t agree on the copying. Obviously, don’t hand in just copy’s, but I’m from the Netherlands and we have a LOT of art schools that give assignments to copy a Rembrand or a Michelangelo, because you can learn so much from it. Also, teachers will notice to what details you paid attention to and what details you didn’t. So I personally think that handing in one copy is not a bad idea. But, I feel like art in West Europe is still quite different from United States, because a lot of the big artist did controversial things to what you said in your critique. They just know how to master the controversy. My own advice, looking at the norms here, would be to hand in more mediums. Use photographs, layouts, etc. Also, I absolutely LOVE the ‘undeveloped’ sketch of the sitting person. I love how vague it is, but still contains depth.
Im learning so much! Im gonna try to save money for get some of those classes.
Also, glass palette?! damn how I didn't before.. Is an awesome surface and always gets clean if ones does correctly, thanks a lot I'm gonna do it!
You totally should!!! Thank you very much for watching-- good luck! - Mia, Art Prof Staff
How do you know that these portraits are done from life?
Usually you can tell because drawings that are drawn from photos are usually incredibly detailed, and the person in the drawing is holding a pose that would be impossible for a live model to pose in for a long period of time.
An another amazing critique but I just had a question. I don’t remember very well but in an older video, you had said that sometimes it’s better to have some pieces be left looking not fully finished or have pieces that are clearly a lot more detailed in some area and left quickly done in another. On the other hand, you’re saying right now that it’s bad that that she left some parts of some pueces unfinished. I just got confused, are there specific conditions in which we can leave a drawing or a painting unfinished?
Yes this does happen quite often, where I say one thing in a video and then end up saying the opposite in another. I don't know what artworks you're referring to, so unfortunately I can't give you an accurate answer here, but I can tell you that every comment I make on an artwork is completely on a case-by-case basis. There aren't any statements that will apply to all artworks, even if they seem really similar. I don't have specific conditions that have to be fulfilled to when to leave an artwork unfinished or not, because again, it really depends on the individual artwork. This video on when to stop working on an artwork might help shed some light on the topic: ua-cam.com/video/H7aI2oceTDA/v-deo.html -Prof Lieu
@@artprof I am curious that you didn't use Giacometti's drawing as an example for this student as you have mentioned him before. A lot of his drawings and paintings have a focal point right in the middle with a background sort of dissolving. It seems that the student was going for that sort of effect, but didn't get it right
I can't see how one can become a professor of art, after seeing this person's work.
why?
I often get confuse while I sit to make portfolio what should my portfolio theme
What subject should I choose to draw
I know the mediums but I don't know what should I draw a portrait or landscape ?
I think this brainstorming track would really help you! artprof.org/learn/tracks/brainstorming-track/ -Lauryn, Art Prof Teaching Artist
Are pieces from imagination and abstract pieces ok to have in a portfolio, as long as you also include pieces from life/photographs? Thank you!
I think variety is key! You can have a bit of both :) Thanks for watching! - Mia Rozear, Art Prof Staff
Man I felt like this was my art. Lol. I mostly draw just portraits. I would like to have a bigger range. But outside of faces I struggle with drawing most things
It's totally okay to have a niche or something you are drawn to creating! Just be prepared in an art school environment to explore different varieties of things :) - Mia Rozear, Art Prof Staff
I dont ever see color pencil as a medium, is there a reason for that?
You mean you don't see colored pencil in art school portfolios? It's a very popular medium I think! -Prof Lieu
is it possible to have *too* much variety in a portfolio? would you recommend having a central theme or subject with just a good portion experimenting and displaying different things or would you recommend varying your portfolio and its subjects, media etc. as much as you possibly can?
For an undergrad portfolio for art schools in the US, variety is a big asset, so I don't think there is such a thing as too much variety. For an MFA portfolio it's the opposite, you need cohesion. -Prof Lieu
@@artprof thanks so much for the answer!
This is all really good critique but I would be quite depressed as it seems all the pieces need a lot of re-work.
Prof Lieu critiqued my portfolio a ton of times before I applied to art school and it seemed SO daunting, but it's all from a place of support!! - Mia Rozear, Art Prof Staff
What video us 8:39 from
It's from our Linoleum Block Printmaking tutorial, you can watch it here: ua-cam.com/video/EBHhZGOMojo/v-deo.html
So did she pass or ? xD
Sorry, but we don't make comments on where students are accepted on their behalf -Prof Lieu
@@artprof Oh I see ! :)